Marilyn's Window

An experimental journey through a year in the life of the director, using his always playing playlist to cross the boundaries of fiction and documentary. Through scenes of both comedy and tragedy, realistic documentary footage and experimental sequences of the director's environment and daily life we get a sometimes estranging image of a young man and also an intriguing insight in his mindset and how this translates to the imagery on screen.

Grand Canyon is a 1958 American short documentary film directed by James Algar and produced by Walt Disney Productions. It is a pictorial interpretation of Ferde Grofé's Grand Canyon Suite. Grand Canyon is one of Walt Disney's more unconventional and experimental works, as it has musical accompaniment, but no dialogue or narration. The short won an Oscar at the 31st Academy Awards in 1959 for Best Short Subject (Live Action).

Nadja is a guest student, who stays at Cité Universitaire and visits the Sorbonne, while preparing a thesis on Proust; she also likes to stroll about Paris.

As with so many early films by Sokurov, this film has two dates: the first is the date of its creation (the film was then banned), the second is the date of the final edition and legal public screening. The film consists of German and Soviet archive footage of the World War II — to be exact, from the end of the war. An attempt to make a large–scale documentary on this subject had been undertaken in the Soviet cinema of the 1960s: the film — “Ordinary Fascism” — by the outstanding Soviet film–maker Mikhail Romm had become a classic retrospective investigation of fascism. But Sokurov uses the expressive power of the documentary image in an absolutely different way. He does not amass materials for a large–scale picture of Nazi crimes.

Rainer Werner Fassbinder reflects on the various stages of his career, discusses how his motives behind filmmaking evolved up his film Despair.

A young woman grapples with the declining health of her beloved dog in this film about mortality, cloning, and Barbra Streisand.

An experimental exploration and celebration of the Juggalo subculture in Buffalo, New York. Long and static takes of Juggalos engaged in their favorite activities, first and foremost of which - causing mayhem. Among these seemingly random acts of the everyday, preening, sexual gratification, backyard wrestling, explosions and destruction, a tentative narrative begins to emerge.

An experimental short film by Derek Jarman the depicts the crush of flesh at an art-world event.

Between Parc-Extension and the town of Mont-Royal, a scar in space creates a strange dichotomy between two neighborhoods.

Vertigine (Vertigo) is the original title of a fragment of around 4', signed by Michelangelo Antonioni, which is a part of the eight-minutes documentary La funivia del Faloria. The title was eventually modified in La funivia del Faloria because considered more effective to obtain the governmental prize (at the time the minimum length allowed was 8 minutes). Vertigine was shot in 1949 with the cinematographer Bellisario, who was director of photography in several documentaries in those years, but was edited only in 1950, after Antonioni had made his first feature film, Cronaca di un amore.

Voz

Claustrophobic portrait of a docile rural wife's daily routine.

In the summer of 2009, a man calling himself Peter Bergmann and claiming to be from Austria arrived in Sligo Town. Over his final three days, Peter Bergmann would go to great lengths to ensure no one would ever discover who he was or where he came from.

A short animated documentary film about the decline of African elephant populations due to the illegal ivory trade.

Szczurolap is a powerful analogy to the aims of an authoritarian society to destroy dissidents.

R31

Filmed in 2003 while staying in a Brooklyn Heights apartment, the work centers on a small Greek statue revealed in shifting morning and afternoon light. Beavers weaves these images with views of the East River and Manhattan Bridge, later completing the film in 2010 as a meditative elegy for his friend Jacques Dehornois.

In a small and conservative city in Jalisco, Alex builds his identity and defends his dreams: fatherhood, music, being a man.

The internal journey of eight men, who, through a theater workshop, go through the different prisons they inhabit. Practicing the art of seeing themselves, in Boal's words, this group of men reflects on their masculinity as a representation to hide their true strength: their vulnerability.

At the east of Mexico City, three people have decided to break the stereotypes set by society and build a new reality; where love, solidarity and dance are the axes.